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Uncanny X-Men 1963/Reviews
__TOC__ Squirrelloid's Review (issues 1-300) The X-Men flagship title, originally just X-Men, but changed first unofficially and then officially to Uncanny X-Men early in Chris Claremont's run as a writer, has had a history rather different from other successful comic franchises. The original run lasts only 66 issues, at which point the comic returned to publication once per two months (as it had been for the first few issues), and featured re-runs of earlier stories rather than new material. X-Men had failed to capture the imagination of the 60's, despite the fact that some of the best of the early stories (at least from a modern perspective) were among the later ones in this run. These reprints would last from 67-93 when Giant-Size X-Men #1 would revitalize the comic and bring Chris Claremont to the title. He would write almost 185 back-to-back issues (thats about 15 years!), bringing a unity of scripting almost unheard of in the comic's business, especially from a major publisher. He would also develop many of those characters which would ensure the strip's popularity (Wolverine being the most obvious of these). Following Claremont's "retirement" from the strip, a series of other writers would take the helm, with varying results. The following works its way through the Uncanny X-Men over time, and points out those issues which are important to X-Men continuity or are just great stories. Its a guide for exploring the large number of Uncanny X-Men back issues, in whatever form you happen to want them (comic, TPB, etc...). The intention of this guide is to run up until approximately the Age of Apocalypse storyline, or about 3 years after the end of the 'Claremont era'. Note: I own all of these issues, but many (especially after the initial run) are still packed away. If there is a summary up for the issue (linked on the Uncanny X-Men page), I have read it recently and have it available for reference. If there isn't, it's been at least 3-4 months since i've read it, and possibly much longer. The most notable effect this will have is some uncertainty about who wrote certain issues (notably 55, 64, 66). 'The Stan Lee stories (issues 1-19)' Stan Lee created the Uncanny X-Men with the help of artist Jack "King" Kirby. While Stan Lee's melodramatic lucubratory prose and campy poorly motivated villains was a recipe for success in a title like Spider-Man, it often fell flat in X-Men. Many of these issues do not resonate with modern readers, and the stories are often quite forgettable. Something Stan Lee did have a good feel for was names - many of his villains had catchy names, and thus despite the villain's original limitations or inherent lameness, they were often developed by other writers later into memorable foes. Magneto is of course a premier example of this - the original Magneto is a forgetable mad-scientist-villain with a signature mutant power whose personality is very much the "look at me, I am so evil" variety. The facts that his name is rather good, his mutant powerful extremely flexible, and he appeared in the first issue, all guaranteed he would have a decent lifespan. Later work done with the character by others made him not only a good villain, but a great villain who became the antithesis of Xavier's dream in a way that was also compelling. He evolved from being "evil" to a man tragically trapped by his history such that he could never escape his fear that humans would always want to exterminate those like him. Other villains that would also become successful include Mastermind (X-Men #4, who played an important role in the Dark Phoenix Saga), Toad (X-Men #4, But not until his conceptual re-imagining in X-Force), Quicksilver and the Scarlet Witch (also X-Men #4, who would receive their improved characterization as heroes with the Avengers), and to a lesser degree Blob (X-Men #3). While not a villain, Ka-Zar's initial silver age appearance (in X-Men #10) is similarly campy, and the character would only be redeemed by later writers. Many of the characters were total or mostly total failures, and wouldn't reappear in the X-books for a long time (until finally 'ressurected' by some writer doing tribute to the early years). Vanisher (X-Men #2), Unus (X-Men #8), and Lucifer (X-Men #9) are perfect examples of this. The Stranger (X-Men #11) is a similarly bad character. The Good: X-Men #1 is probably Magneto's best appearance in the early comics. His "I am so evil" schtick hasn't gotten overused and annoying yet, and he has as much motivation as any villain of the era in this book. X-Men #12 and #13 is one of Stan Lee's best X-Men stories. Introduces Juggernaut, perhaps Stan Lee's best supervillain as created, who needed and received few improvements from later writers because he didn't need them. X-Men #14, #15, and #16. While Juggernaut may have been Stan Lee's best supervillain, the Sentinels are his best antagonist. This is the story where the series finds its voice, and will also contribute to developing the characters of other villains such as Magneto. While the story is still a little cheesy, especially its resolution, the idea of the Sentinels is monumental, and the idea that humanity will continually strive to destroy that which they do not understand and fear will set the tone for some of the best X-Men stories ever told. Of all the early X-Men stories, this is the true landmark story. The Bad: X-Men #2, in addition to featuring the lackluster Vanisher, also features one of the worst Deus Ex Machinas I've ever read in a comic. X-Men #6: Both the X-Men and Magneto attempt to recruit the Sub-Mariner. The _early marvel_ Sub-Mariner, whose character development was non-existent. Between his pompous annoying character, the early Magneto "I am so evil", and the general campiness of Stan Lee's stories in general, this issue is absolutely painful to read. X-Men #9, featuring a totally pointless battle between the Avengers and the X-Men which could have been averted by talking. And then there is Lucifer, who is mostly forgetable. His responsibility for Xavier's loss of use of his legs is one of the great travesties of X-Men continuity. X-Men #10 features a Ka-Zar who can barely string two words together. It ends up reading like a bad Tarzan movie. X-Men #11 features the Stranger, who turns every event in the issue into a Deus Ex Machina. Important only insofar as it explains why Magneto (who we've seen in more than half the issues thus far: 1,4,5,6,7,11) disappears until #17, and really, that only needs explanation in the context of his excessive appearances in the early X-Men run. X-Men #17 and #18: Magneto knows where the X-Men live (though why he doesn't use this knowledge more often after this is unknown), and manages to enter the mansion and set up traps for the X-Men to run into one at a time. Featuring some of the worst Magneto evil-villain monologue of all time. The following issue he commits the James Bond villain mistake (put the heroes in an easily escapable death trap). And yet another awful Deus Ex Machina, made worse because its courtesy of the Stranger. 'Roy Thomas (issues 20-42)' Unlike Stan Lee's stories, where the bad is truly awful, Roy Thomas's writing manages to save many of the stories, even when the villains are laughable and the plot ludicrous. That said, Roy Thomas uses and creates many villains that we find ridiculous today. Thus the overall quality of this run is higher than the Stan Lee stories, but the villains are generally without staying power and the stories are rarely excellent. Thus a different standard is held to these stories - the bad are better than any of the awful ones picked out for issues 1-19, and often better than ones that went unmentioned above. In terms of the style and the feel of the series, Roy Thomas does a lot to move the characters towards our modern conception of them. Jean and Scotts' feelings for each other become more obvious to the reader, though the drama of them being unable to reveal their love to each other would fuel many of the team dynamics over Roy Thomas's tenure. Warren would give up pursuit of Jean, and run into Candy Southern. And Hank and Bobbys' relationships with Vera Cantor and Zelda would develop - another recurring feature of the early X-Men run. There are some other significant events that occur during Roy Thomas's run of issues. Banshee makes his first appearance (X-Men #28), as part of the Factor Three storyline which would occur over more than 10 issues and featured the last return of Blob, Vanisher, Mastermind, and Unus as villains in the original run. Spider-Man would make his first appearance in the X-books (in X-Men #35). Count Nefaria also has his first appearance in an X-book (X-Men #22) (most notable for his appearance later against the new team in Uncanny X-Men #94 and #95). Roy Thomas, unlike many writers, tends to end his stories with the end of the careers of the villains he created. Thus the Locust (X-Men #24), Cobalt Man (#31), Mekano (#36), El Tigre (#25 and #26), Frankenstein (#40), and Grotesk (#41 and #42) are never heard from again. Others disappear into obscurity (like the Ogre from X-Men #28). We can thank Thomas for the death of Lucifer (X-Men #21), who was otherwise doomed to be a recurring black mark against the comic given the prominence in Professor X's history Stan Lee had given him. Unfortunately, Thomas also had an inordinate fondness for using obscure villains from other titles, including Plantman, Eel, Mole Man, and others who would have otherwise been thankfully forgotten. Super Adaptoid is vaguely in this category, although more prominent. The Good: X-Men #31. Thomas seems to like these sort of stories: A villain is made by circumstance or design, but is really a good person inside. The X-Men stop him, but also help redeem him. This is probably the best of them, where Ted Roberts brother Ralph Roberts becomes the Cobalt Man. The only unfortunate part of this story is no real explanation is offered as to why the Cobalt Man suit (and the Iron Man suit is also implicated) drive men without exceptional mental fortitude to villainy. (Other similar stories include X-Men #24 vs Locust and X-Men #36 vs Mekano, either of which are decent). X-Men #35, is one of the better examples of superheroes appearing in other comics in this era. Generally it means the heroes will somehow be compelled to fight by some plot device (as Spider-Man and the X-Men are in this issue), but in this case the motivation is sufficient to actually be believable - a rarity in Silver Age Marvel stories of this sort. This is also the best of the Factor Three-related stories. X-Men #37, #38, and #39. The end of the Factor Three storyline, includes some clever scenes such as the X-Men saving themselves after jumping out of a plane without parachutes, and Cyclops using Iceman's ice to create a smokescreen. The Bad: X-Men #22 and #23. While Nefaria's appearance as an X-Men foe is notable, his lackeys are anything but, and the story is ridiculous. X-Men #32 and #33, probably the worst Juggernaut story ever told. Includes Scott and Jeans' psychedelic adventure to the Crimson Cosmos, which may be the worst moment in Roy Thomas's scripting of the X-Men. X-Men #34, featuring Mole Man, Tyrannus, crazy giant Robots built by them, and the River Lethe. A lose-lose combination all-around. X-Men #40, featuring Frankenstein, which would go unremarked except for Professor X's bizarre revelation at the end that the monster was actually a robot from another galaxy. (Not that the idea of said revelation is awful, but its presentation leaves much to be desired on top of an uninspiring tale). Gary Friedrich (issues 43-47) Gary Friedrich takes over immediately following the supposed death of Professor X (actually the Changeling, although that is probably a retcon of Thomas's story). His writing is rather comparable to Roy Thomas in that it manages to save even substandard stories, although he makes more use of prominent villains, including Magneto's first appearance since Stan Lee's writing. Friedrich has a relatively short tenure as writer for X-Men, sharing his last issue with Arnold Drake. The Good: X-Men #43 and #45, which continues in Avengers #53. While Friedrich unfortunately sticks close to Stan Lee's categorization of Magneto, Magneto is actually not the star of the villainous team. The focus is really on Quicksilver and Scarlet Witch, who are duped by Magneto into serving him (see the lead-up Avengers #49 for why), and who struggle to return to being villains, and ultimately fail. X-Men #45 is the best of these. The Bad: X-Men #44, an irrelevant and bizarre story that serves no purpose whatsoever, introduces a character Red Raven who is never returned to or developed further, and doesn't read like a superhero story (its more like a mystery or horror story as defined by the comics of those genres in the Silver Age). Its not an absolutely terrible side-story, but it doesn't belong in X-Men, nor does it belong in the middle of an otherwise interesting story. Arnold Drake (issues 47-54) (Note: Drake may have written 55, i know i have that issue around here somewhere...). Something will be put here, don't worry. Return of Roy Thomas (issues 56-64) Roy Thomas is probably the best writer the series has had at this point, and his return heralds some of the best X-Men stories he will ever write in these pages. Stuck with tidying up Drake's Havok/Living Monolith storyline, he immediately follows this with back-to-back sensational stories. You may notice there's no "the bad" section below - thats because nothing from this run is bad. Thomas brings back the Sentinels in their most memorable Silver Age appearance, introduces Sauron and the Savage Land Mutates, and the final Silver Age X-Men appearance of Magneto. Also notable for introducing Havok's costume. The Good: X-Men #57, #58, and #59 - the second Sentinels storyline, introducing Larry Trask, Judge Chalmers, Havok's costume, and Sentinels mk. II with more familiar weapon systems. This sentinel story reads like a modern story, and opens up the Sentinels conceptually for the many stories that will follow. This classic is also reprinted in Giant-Size X-Men #2. X-Men #60 and #61 - the introduction of Sauron, and its probably the best introduction of a major villain in the Silver Age X-Men run. X-Men #62, featuring Ka-Zar as the X-Men return to the Savage Land. Thomas redeems the character of Ka-Zar, and this storyline (including the next 2 issues vs Magneto) will end with Ka-Zar as an X-Men ally. Dennis O'Neal (issues 65-66) Dennis O'Neal's short run combined with the comic's beginning to publish reprints in issue 67 suggests he may have been the cause of that decline. Certainly the print run for 66 was markedly reduced from that of previous issues. And 65 really is that bad. Sorry Dennis. The Bad: X-Men #65. O'Neal does a terrible job maintaining consistency of character, as our X-Men act more like their Kirby-era selves than their more recent selves. Professor X is brought back with a bizarre explanation for why he needed to fake his death. The reason? He discovered the Z'Nox were coming to conquer earth and needed to prepare (You haven't heard of them? Thats ok, no one else has either). So who died? The Changeling... On top of all this, the Z'Nox are an uninspired alien threat with rather generic looks for Silver Age aliens. And the X-Men defeat them by transmitting compassion focused by Professor X into Cyclops and along his power-beam into the radio-receiver of the incoming Z'Nox vessel. Say what? Yeah, it really is that bad. Levels of cheese this thick haven't been sliced since Stan Lee was doing the writing, and Lee at least had the decency to create respectable villains. The Reprint Years (issues 67-93) X-Men starts reprinting earlier issues, mostly from after the Lee-Kirby run. King-Size Special 1 and King-Size Special 2, which will later become the Annual series, are also from this era and also reprint earlier issues. The reprints often feature a reworked cover (at least a little bit), but the exact same content for the primary story. For those issues which had origin back-up stories, Stan Lee wrote a short for a secondary story, often a small 'moral play', or reprinted something else bizarre. Chris Claremont (issues GSXM 1, UXM 94-278, Annuals 3-?) Let's face it, we're going to have to divide this up somehow, probably by artist. Chris Claremont did an amazing amount of work on the X-Men, and salvaged the title from obscurity. It is his work on the characters which ultimately shot the series into stardom and made it one of the best loved properties in the Marvel (or any) Universe. Dave Cockrum John Byrne Category:Review